로잘린드 크라우스 포스트 미디엄 이론의 이중성에 관한 변증적 고찰 = Notes on the Duality in Rosalind Krauss` Post-Medium Condition

다국어 초록 (Multilingual Abstract)

This essay aims to clarify the duality of (Rosalind) Krauss`` Post-Medium condition, and therein, questions how this duality works in our efforts to bring together both the post-medium art and the post-media art. The duality here derives from Krauss`` contradictory claims in her recent theories: Krauss taught us, back in 80s, the collapse of specificity in the postmodern era was ‘an expansion,’ while she’s now changed this thought, considering the same event as “a monstrous myth.” The duality also comes from the paradox that even though Krauss discredits installation (as non-art, kitch, etc.), most artists in her “crusades” against ‘the monstrous myth’ somehow involve installation, embracing media technologies. Arguably however this duality illuminates the crisis of contemporary art that fails to maintain its specifity in the cult of digital generality. As Krauss would agree, this anti-specificity in recent digital arts appears to be a repeation of the post-medium conditions whose origin can be found in the Duchampian ‘disgust’ on aesthetic traditions. Today we live on this contradiction as this paper attempts to explain and understand it. Peter Burger``s 『heory of Avant-Garde』 and Hal Foster``s 『 Who is afraid of Neo Avant-garde?』will be reviewed in that for both, the repetition and contradiction in history was a central issue. As Foster`s argument goes, the post-media situation is not a repetition of its failed predecessor (the post-medium condition); rather it symptomizes the problems, simulated and understood by post-media``s dialectical turn. To this end, this argument will prove that Krauss``s duality is not a blind dead-end of hercritical endeavor, but an insight through which one can see the true face of contemporary media/medium art

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